In "To nowhere", Ángela Solís O’Neill explores the line as both introspective device and record of thought. As curators Gerard Zamora and Paula Carrera note, her practice revolves around “controlled subconscious traces” that reveal how perception and identity are shaped beyond conscious awareness (Zamora & Carrera, 2025).
Her gestures oscillate between control and impulse, transforming painting into a meditative act where form emerges through process. In works like "To anywhere close" or "Birds", familiar motifs—chairs, birds, fig trees, wheels—become fragments of personal memory, reconfigured through abstract and spontaneous marks.
Echoing the exhibition’s premise, Solís O’Neill’s work affirms that art “does not aim at a definitive arrival, but at persistence in the act of producing” (Zamora & Carrera, 2025). Each line thus becomes a moment of presence: a visible thought that, rather than seeking to arrive, simply continues to become.
Anywhere close, 2025, acrylic on canvas and walnut frame, 160x100cm
Clouds, 2025, iron, 60x70x80cm
Clouds, 2025, iron, 60x70x80cm
The day goes from dawn to dusk, 2025, mixed media on canvas, 120x80cm
Whenever I whistle, 2025, mixed media on linen, 61x80cm
Orange tree and dream, 2025, acrylic on linen, 80x75cm
Orange tree and palimpsest, 2025, acrylic on linen, 80x75cm
Dive flight, 2025, acrylic on canvas, 80x75cm
The sound of the wind, 2025, acrylic on methacrylate, 76x90cm
A conversation at a vacant chair, 2025, acrylic on methacrylate, 76x90cm
Birds II, 2025, iron and steel, 30x30x80cm
Birds, 2025, iron and steel, 60x60x100cm
Drawings (15), 2025, mixed media on paper and aluminium frame, 34x29cm
